Chet Baker
In New York
Riverside Records
www.concordmusicgroup.com

Ornette Coleman
Something Else!!!
Contemporary Records
www.concordmusicgroup.com

Thelonious Monk
Thelonious Alone In San Francisco
Riverside Records
www.concordmusicgroup.com

Cannonball Adderley With Bill Evans
Know What I Mean?
Riverside Records
www.concordmusicgroup.com

Bill Evans Trio
Explorations
Riverside Records
www.concordmusicgroup.com

Ella Fitzgerald and Joe Pass
Easy Living
Pablo Records
www.concordmusicgroup.com
By George W. Harris

Concord Music Group has been doing yeoman-like work in bringing back to
surface not only the more popular reissues of its halcyon days, but
like here, going into a few dusty corners to bring out of the dark
recesses some intriguing obscurities. Let’s go through the attic
together!

If you thought that Chet Baker was some West Coast wimp that got lucky
with a unique style of singing, here is concrete evidence that would
destroy your testimony in a court of law. This 1958 sessions has jazz’s
James Dean fronting a band with Johnny Griffin/ts, Al Haig/p, Paul
Chambers/b and Philly Joe Jones/dr that is high on cholesterol and
protein. Griffin goes three rounds with Baker, and it’s a draw decision
on extroverted hard drivers like “Fair Weather” and “Hotel 49.” The
takes of “Solar,” and “Lights Are Low” compare favorably to Miles
Davis’ readings, with Baker riding the surf like a local. Exciting and
macho music that will convert even the most venomous anti-Bakerite.

Here’s another argument settler: was Ornette Coleman really a musical
visionary, or just a alto carrying charlatan? This 1958 release, before
he became the poster boy for Free Jazz, shows that he did have, at
least at one time, his feet firmly planted in bebop. This session with
Don Cherry/tp, Walter Norris/p, Don Payne/b and Billy Higgins/dr could
easily be a lost Jackie McLean session; complex and advanced/boundary
pushing hard bop. Coleman’s use of a pianist (and a bopper to boot)
would be his last such venture for scores of years, yet it sounds so
right. “When Will The Blues Leave” is pretty down home, while “Angel
Voice” is “Rhythm” changes, for Pete’s sake! A definite stumper on a
blindfold test, and pretty good music to boot!

Thelonious Monk was literally hitting his stride by the time of this
1959 date, showing his Meade Lux Lewis roots on this solo outing. His
own tunes like “Blue Monk” and “Pannonica” have a verity about them
that is missing in the countless cover versions that have come out
since. It has to be his tactile approach to the piano, as even though
we’ve heard these songs a gazillion times, the lack of pasteurization
here gives them a rich texture and flavor. Even his versions of Tin Pan
Alley tunes like “Everything Happens To Me” sounds like it is being
heard through a prism. Ah the joy of an individual voice. Still crazy
after all these years!

Cannonball Adderley was supposed to be the heir apparent of Charlie
Parker, but he decided to make a living instead. Just before he hit the
pop charts, he joined onto Riverside and put out some of his best ever
playing, here 1961 with the formidable team of Bill Evans/p, Percy
Heath/b and Connie Kay/dr. Sort of lie a mini MJQ/Bill Evans Trio with
horn. Adderley is luscious on the ballads like “Goodbye” and “Nancy
(With The Laughing Face)” while the medium tempos show how a rhythm
section is supposed to sound. Evans sounds insouciant on “Who Cares”
and the title track, and reveling in the sideman role for a change. Not
a nanosecond that lacks inspiration, a classic session.

Speaking of Bill Evans, this 1961 session has him with his classic team
of Scott LaFaro/b and Paul Motian/dr. This trio created some of the
most forward looking and influential music in the history of jazz, with
LaFaro’s bass work freeing up Evan’s hands to do exactly as the title
implies. They were able to swing assertively, as they demonstrate on
the lively “Beautiful Love,” but this band was more famous for deep
ruminations, such as “Nardis” and “Israel” which take the melodies, as
Captain Kirk would say, “Where no man has gone before.” If you want to
understand the sensitivity of jazz, this is the Rosetta Stone.

Some of Ella Fitzgerald’s last recordings were with virtuoso guitarist
Joe Pass; this disc collects work they did together in 1983 and 86.
There are moments here where her voice is a bit worn, and you can feel
her struggling on certain notes, but that in itself is the charm of the
music here, as everything usually sounded like it came too easy for
her. Intimate versions of “Moonlight In Vermont” and “Easy Living”
betray her accusations of glibness, as her inflections are palpable,
while Pass’ guitar strokes on “My Ship” and “By Myself” are as deft as
a card shark. Even at the tail end of her career, the Lady of Song went
out swinging.